“When we first started playing, people couldn’t have cared less that we were there,” recalls Turnpike Troubadours’ frontman Evan Felker. “They were there to drink beer and raise hell and they didn’t really care what music was playing while they did it. But as we went on and as we got better, they started to listen. I mean, they were still drinkin’ plenty of beer, but before too long, they were actually coming to hear us and asking us to play our songs, and not just covers of traditional favorites and all the other stuff we’d been doing.”
Not only did the crowds get more attentive, they kept getting bigger. As time went on, and the Troubadours broadened their touring circle, they moved on from tiny clubs in the more obscure corners of the Sooner state and started hitting – and selling out – prestigious venues like Cain’s Ballroom in Tulsa, the Firehouse Saloon in Houston and Antone’s in Austin.
Over the course of the past five years, Felker and his band have honed the rowdy, quick-witted sound that’s brought folks of all stripes together in front of those stages. And on Goodbye Normal Street, the Troubadours’ third full-length album, the band takes that blend of nice and easy and nice and rough and distills it into a 43-minute ride that takes in the scenery of America’s Heartland and the inner workings of a group of 20-somethings on a quest for something better.
Felker, who writes the majority of the lyrics – with an assist from bassist RC Edwards – has a knack for capturing slices of life in vivid detail. “All the songs are about people we know,” he says. “And yeah, some of them are probably about me to some degree – the guy who ticks off the wrong girl from Arkansas, and the guy who doesn’t always like what he sees himself becoming. Mostly though, I think they’re just honest.”
The band – which took its name from the Indian Nation Turnpike that connected so many of the smaller towns where they cut their teeth – gradually evolved from offering acoustic explorations of tunes by Townes Van Zandt and Jerry Jeff Walker to kicking out three or four sets a night of full-throttle roadhouse country – tinged with the punk rock attitude that was in the air during the members’ teen years.
The raw-boned energy of their 2007 debut, Bossier City, cut on a shoestring budget and aimed squarely at getting boots on the dance floor earned raves from many corners, including No Depression, which dubbed it “a testament to the small towns in which they were raised … with stories of longing, humor, tragedy and general life in rural America.” The quintet broadened its horizons on its sophomore outing, Diamonds and Gasoline, which spawned the Americana favorite “Every Girl” and brought them to the attention of folks throughout the country, and overseas.
And with Goodbye Normal Street – the name a reference to another longtime band residence as well as a state of mind that they left behind long ago – they set their sights on conquering even more expansive territories. “This music, at its best, can put into words what we have been thinking for our entire lives,” says Felker, “and even at its worst, it gets people drinking beer and makes people happy. Either of those is fine with me.”
Lead singer of The Old 97’s Rhett Miller released his new solo album, The Traveler, on May 19th 2015. The album features the instrumentation of Black Prairie (members of The Decemberists), Peter Buck and Scott McCaughey (members of REM) and is Rhett’s seventh solo effort.
A Kessler favorite!